Robert Tatin - art environment

Art environment

 Environmental art is a range of artistic practices encompassing both historical approaches to nature in art and more recent ecological and politically motivated types of works. Environmental art has evolved away from formal concerns, worked out with earth as a sculptural material, towards a deeper relationship to systems, processes and phenomena in relationship to social concerns. Integrated social and ecological approaches developed as an ethical, restorative stance emerged in the 1990s. Over the past ten years environmental art has become a focal point of exhibitions around the world as the social and cultural aspects of climate change come to the forefront.The term «environmental art» often encompasses «ecological» concerns but is not specific to them.It primarily celebrates an artist's connection with nature using natural materials.The concept is best understood in relationship to historic earth/Land art and the evolving field of ecological art. The field is interdisciplinary in the fact that environmental artists embrace ideas from science and philosophy. The practice encompasses traditional media, new media and critical social forms of production. The work embraces a full range of landscape/environmental conditions from the rural, to the suburban and urban as well as urban/rural industrial.Wikipedia

 

 

 

Robert Tatin (12 January 1902 -16 December 1983 )French outsider artist best known for creating a dramatic «art environment» that became the Musée Tatin, at Cossé-le-Vivien, Mayenne, France.He died on 16 December 1983 in Cossé-le-Vivien.

" Tatin had a singular artistic vision, which is probably why he’s often grouped in with outsider artists. Take this sculpture of the artist Georges Seurat, for example. Many of the concrete sculptures Tatin made represented artists, but they didn’t use common symbolism or even look like the artist they represented. Here the female figure is most likely meant to reference one of the main figures from A Sunday Afternoon on the Island of La Grande Jatte (Seurat’s most famous work). But why is there a smaller figure under her dress, seemingly playing a shell game? Tatin had his reasons, I’m sure, even if they may not be clear to us now. That’s what’s so great about art. It can be depicted and interpreted in a myriad of ways. Maybe we see what Tatin intended, maybe we don’t. Maybe we make up our own meanings. Our ability to make art personal, while we’re making it or looking at it, keeps it valid and relevant.

 

 

 

 

 

 

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